As part of a new HBO original series entitled Vinyl, Kentucky-born songwriter and insurgent country artist Sturgill Simpson was selected to provide the theme song and anchor the soundtrack scheduled to be released 2/12. As the name implies, the 10-part series includes a strong musical component, and a deal was struck between Vinyl producers (Martin Scorsese, Mick Jagger) and Sturgill Simpson’s label Atlantic Records to provide the music for the series. Set in New York City in the 1970’s, and following a struggling record executive named Richie Finestra (played by Bobby Cannavale), the music for the series needed to strike an authentic vibe to the time period selected. The first new song we’ve heard from Sturgill Simpson since the release of his breakout 2014 album Metamodern Sounds in Country Music most certainly accomplishes that stated goal for Vinyl, if nothing else.

Attentive fans of Sturgill had to know that new music would be headed in a different direction from what his first two records looked to accomplish, which was a revitalization of traditional country sounds in a more modern context. Talk of synthesizers and strong language about not wanting to be considered a country music savior meant we might be headed for a rebellion from Sturill to break down misconceptions about who he is, and what he does. “Sugar Daddy” stretches the sonic landscape for Sturgill to explore, striking an immediate and effusive tie to the heyday of classic rock full of tape hiss, tone crunch, and heroin sweat. Yet it remains submerged in a throwback attitude that gives it a fairly intuitive transition from Sturgill’s previous body of work.

“Sugar Daddy” is directly tied to the era in popular music when American and British rock bands were heavily influenced by the sounds and authenticity of American blues. The term “sugar” referring to a woman’s love (or a woman’s other things), is and was a standard of blues nomenclature. Because of this, and even the styling and structure of “Sugar Daddy,” the song feels more interpretive than original. Though it’s more rock than traditional blues, you can definitely hear the bones of Led Zepplin III or Foghat in the song’s structure and attitude. But given the context that the song is being presented in, whether this was planned out when Sturgill was composing the song or it just happened to work that way, trying to strike a vibe instead of creating an original expression is certainly understandable, if not an essential element for the song for it to be effective for its intended purpose.

More so than most songs, it might be important to understand the context in which “Sugar Daddy” is being offered, or how it potentially may dovetail into a much more encompassing and cohesive album concept in the future, if “Sugar Daddy” even makes it onto Sturgill’s next album and is not just intended for the Vinyl soundtrack. Nonetheless, this continued adherence to the idea that music must sound fuzzy, distorted, and must be captured with antiquated technology to somehow be instilled with “soul” remains a troubling trend of the east Nashville sound. Simpson’s voice is too singular to be relying on shouting instead of singing, and Sturgill’s guitar playing (Laur Joamets apparently doesn’t play on the track) is too tasteful and respectful of melody to be leaning exclusively on tone and rhythm like this.

However, “Sugar Daddy” does what all great music does, which is awaken something in the listener. The structure of the song is smart, the transition is effective, a live feel is captured if one ever was, and the discordant ending punctuates the wild-assed, unhinged attitude that is so unfortunately lacking in the calculated and inhibited music of today.

This song is not fair to judge on its own, and needs the context of an album to fully digest. If it’s an album cut looking to cut loose at the right moment, and most certainly as the soundtrack to a 70’s based show, it is excellent. Naked and by itself, it’s cool, but nothing exceptional. So we’ll see where it lands and potentially tweak opinions accordingly in the future.

142 Comments

Fuzzy TwoShirts
February 11, 2016 @
10:20 am

Groovy tune, but WAAAAAAAAAY to much going on EVERY SINGLE SECOND of the song.
And what is going on with that distortion on Sturg’s voice????
Also, the guitar is way too overloaded, and that recurring, predictable drum beat just drones on forever.
And all of a sudden right in the middle the band just goes ballistic and it sounds like those reptile aliens cut Sturg open and pulled something other than pain out. Something important, I think.
And what’s with that ridiculous cascade of nonsense at the end? It sounds like the whole band took a tumble down an elevator shaft while they were playing…
Sturgill’s going to lose his audience if he keeps this up.

“Sturgill”™s going to lose his audience if he keeps this up.” Keep what up? Recording songs that don’t fit the “country music” genre? If anything this will grow his audience. Can’t wait for his next album, whenever it come out.

I think this song is so far away removed from what his fans want that he’s doing, in essence, what Zac Brown, Gary Allan, and TBP all have done, which is try something new to attract new fans, but in the process alienate older ones.
He has his market share, he’s found his niche, just like TBP had their niche. They blew it, and if we think he’s immune to the system “because he’s Sturgill” then we’re kidding ourselves.
I’m not saying he should stick to his guns and never grow or expand, but he needs to do these things moderately, with precision.
A few songs on a mostly “Country” album is one thing, but if this is indicative of the whole album he may have made a mistake.

Context for this song is very, very important. This is not the lead single from his new album. It’s a theme song for a TV show about rock music in the 70’s. May it hint to a new direction with his music? Possibly. But I wouldn’t draw any hard conclusions from it.

He’s only released 2 albums so far (and only 1 has charted), I think it’s a pretty big stretch to say he’s found his “niche” and that he should be limited to one genre/sound for the rest of his career.

Well Tom, to that I would respond that despite the success of that 1 charting album, sales of High Top Mountain have not gotten the kind of boost that I’m sure Sturgill would hope for.
The fact that Metamodern hasn’t dragged High Top with it during all that media blitz implies that Metamodern was special, and different, and that people wanted what Metamodern offered and didn’t want what High Top did.
If he puts out another album like High Top (which he won’t) it won’t sell as well, because now that all the media blitz has worn out he’s in essence back to the metaphorical square one, and if his next album doesn’t resonate with his core fans, OR do exactly what metamodern did (which can’t be replicated) theen he’s in essence doomed. Metamodern is the defining album, and his whole career rests on the success of this next one.

Sturgil has only released two albums? This is true if your talking as a solo artist, but look up Sunday Valley even better than his solo work ( in my opinion) and he plays lead guitar. (which he absolutely shreds!!) My favorite would probably have to be sometimes wine checkout the pickathon videos on youtube.

I’m curious as to how you’ve arrived at all of these (seemingly) interesting conclusions about Sturgill’s career….specifically, the END of his career. You speak of High Top’s failure to attatch itself to the success of Metamodern and you speak of what Sturgill would’ve “hoped for” as it relates to what you consider it’s “lack” of success.
Now, how these opinions disguised as insight can lead anyone (with the time to read and respond to your many comments.. I happen to have plenty today) to believe that you have a fatalistic and somewhat bizarre idea of how Sturgill Simpson’s career should proceed is no stretch…at all.
The stretch is made trying to understand why you have invested so much energy in the tired and pointless act of hateration.

Zac Brown changed his sound. Sturgill changed his sound. Sturgill has changed more times from Sunday Valley to High Top to Metamodern and now to this shit, but the change is no different than what Zac Brown does. It’s a tearing down of what lured fans in and replacing it with something designed to lure in other fans. And the existing fans will jump ship.
I know full well Sturgill’s career, I’ve been listening for years. I can say that if this single is in anyway indicative of his new album that he’ll be just as Country as Sam Hunt, and more importantly, he’ll have about as many fans left as Billy Ray Cyrus does. Because that’s a universal law of recorded music, every time an artist tries out a new sound, they polarize the fanbase. That’s why “Dirt” got backlash from FGL fans for being too grown up, that’s why TBP is increasingly less relevant every time I get out of bed, and that’s why Gary Allan and Kip Moore have had whole albums shelved. The only artists to reinvent themselves successfully are Elvis and Michael Jackson.
Sturgill will never be able to compile a group of fans large enough to achieve market share if his fans are divided between albums. look in this very comments section to see people saying his Sunday Valley stuff was the best, or High Top was the best. His career is right now balanced on the fans that turn out for each album individually. High Top has a fanbase, but Metamodern doesn’t have the same fanbase, and if this song represents his new one, then he’ll have a whole new fanbase, and this means that he won’t be able to gain market share, sales numbers, commercial relevance, etc.

Music most certainly is not a hegemonic structure. Most people listen to multiple genres at once and their tastes vary throughout the course of their lives. Having a favorite album, or one that you consider “best” doesn’t mean the person exclusively listens to that album. Let’s say you’re a Beatles fan & Abbey Road is what you consider the best. Are you going to say, no thank you Sgt. Pepper, I exclusively listen to Abbey Road. No, because that’s silly. You seem pretty confident about your assertions, but your understanding of the music marketplace seems pretty shallow & almost biased as to what you want to happen (Sturgill releasing a Metamodern 2). Don’t you think that releasing the same album over & over again creates the disease that is music row? This blog is very good, but it’s not really representative of a general music buying population, & I would say the frequent commenters on here are even more niche. So before you go predicting Sturgill’s downfall you have to acknowledge that 1. This show has an audience of 4 million a week, 2. He’s on the verge of his first major label release & 3. Out of everyone out there he’s the only one with Weberian Charisma.

The only thing predictable about Sturgill is that he’s unpredictable. God love him for it.

Wow, Fuzzy said something positive! Oh, wait, jumped the gun there, the positivity was only the first word of his post, the rest was contrary and negative as always. Personally, I like Sturgil’s country stuff and, as a fan of rock and roll, i think this sounds pretty good too. Once i like an artist, i will follow them to almost any genre, so he won’t lose me.

Thanks for the heads up Crankbait. I think this is the fourth time I’ve had that distinction. It’s very exciting, though it can make for some harrowing moments making sure the server stays up 🙂

I don’t know who keeps posting my stuff to Reddit, but I really appreciate it. I’ve tried to get the hang of things over there, but it’s still very much a mystery. None of my current stuff ever goes front page or seems to get much attention. It’s always history type stuff I’ve posted years ago that goes crazy.

Sturgill Simpson is the best guitar player I have ever seen live, even better than Little Joe. Sturgill might be the best guitar player in all of country music at the moment. On his first two solo albums he decided to allow all that to take a back seat to his songwriting and singing, and it’s hard to second guess that decision from the success he’s had. But none of that changes the fact that he might be the best guitar player in country music. This song, however, doesn’t illustrate that. For the context, the guitar playing is fine, or potentially ideal. But it illustrates styling as opposed to the talent and taste Sturgill possesses.

If you haven’t listened to when Sturgill was on the Walkin’ the Floor podcast you need to. He specifically references his guitar playing saying (I’m paraphrasing) “About four years ago I got it in my head that I suck, so I stopped practicing and playing electric. I don’t feel like I have anything to say there.”

Maybe a reverse of course? Maybe a one-off deal for this song? Hard to tell, but it’s interesting.

I agree – that was a really interesting interview. The two-part interview with Dwight Yoakam was excellent, as were many of the others. I’ve noticed that he hasn’t posted any new podcasts yet this year, but hopefully that will change soon.

Sturgill would blow Paisley off the stage. No offense to Paisley because he’s a great guitar player, but his hooks are all cliche. Sturgill plays from anger. Of course, this song isn’t the best display of his talents, but when Sturgill unleashes, it’s not just about the notes. He’s a force of nature.

Brad Paisley is a fantastic player, in terms of technical measurements, he’s fast, accurate, etc.
He’s just musically a big mess, he shoves too many notes into passages, he doesn’t know when to bend and when to hold, it’s not his ability, it’s his emotional input that makes his guitar work suffer.
See also: Don Rich, who was no technical shakes but could come up with some pretty cool phrases.

‘Sturgill plays from anger’; ‘He”™s a force of nature’ – these are subjective statements. They just reinforce my point that you like his music and the emotional response you get from his guitar playing.

That is perfectly fine. I like Bruce Springsteen’s guitar playing – it suits his music and I enjoy it in that context very much and would not change it. But he is definitely not the best guitar player.

There must be a distinction made between subjective and objective view points when making such statements as ‘best guitar player in all of country music at the moment’.

Listen to Paisley’s Play album. You may not like the music, but I am pretty sure that there is no way that Simpson can replay any of the tracks on that album. Simply because he is not that technically proficient. Paisley is simply technically a far better guitar player than him.

Subjectively you can state that you prefer Simpson’s guitar playing to Paisley’s – but objectively you can not state he is a better guitar player.

Well of course it is subjective, but playing guitar isn’t a skills competition either. Paisley might have trouble re-creating a lot of Sturgill’s licks from back in the day too. If you think Paisley’s the best, you can certainly make a good case for it.

I think Sturgill SImpson was at the height of his powers right before he broke up Sunday Valley. I took the below video at Pickathon in 2011, but this just shows one side of his playing. The song he played AFTER this one for his final song might be the best guitar performance I have ever seen in “country” ever. Unfortunately I did not have the camera rolling.

Exactly. I’m still conflicted to this day about not taping that final song, but that was my rationale at the time. Things became so unhinged at one point, Sturgill got wrapped up in the microphone cables, gear went flying, and he left the stage in shambles. The stage manager named Gavin, who’s kind of famous in the Pacific Northwest, got all pissed and threw a fit. I talked to Sturgill about it after the show and he said to me simply, “That’s rock and roll.”

Sturgill also played an XSXSW event I helped throw in Austin in early 2012. It was the last official show of Sunday Valley, or the first official show of Sturgill Simpson, however you want to look at it. It was equally impressive. Both times I got to stand feet from him and really take in what was happening. Perhaps that personal experience clouds my judgement on who the best guitar player ever is, but he definitely left an impact on me.

Brad Paisley’s over processed tone is gawd awful. And he jacks off with his guitar similar to some of the hair metal wankers of the 1980’s. There’s nothing musical about it. I can hardly stand to hear him play guitar or sing.

Derek Trucks is a guitar master if there ever was one (despite being kind of a shoegazer), but his discipline is slide. He’d kill Sturgill in slide, but it might be vice versa with naked fingers. THey’re both right up there though.

I am very much gobsmacked. This is Sturgill (and Laur Joamets, in particular – providing the guitar freakout is coming from him and not someone else, i don’t have that information, but I am guessing it’s Laur) really firing on all cylinders. Yes it’s not Country, but I am impressed with the ease that this band are taking to this other genre and absolutely owning it – particularly after having seen Sturgill only weeks ago doing some of his intimate Acoustic shows in Europe, this change of pace and weight is simply awe-inducing.
By the way – on stage in Berlin Sturgill mentioned coming back to Europe later this year with a horn section. He said something along the lines of “Nashville says that Country and horns don’t mix, but I don’t care”. So I take that as a hint of the direction Album 3 might be taking.

“By the way ”“ on stage in Berlin Sturgill mentioned coming back to Europe later this year with a horn section. He said something along the lines of “Nashville says that Country and horns don”™t mix, but I don”™t care”.”

Sturgill may say that country and horns don’t mix, but that’s what pretty much everyone is doing right now. It’s about the most conformist thing you can do in independent roots music at the moment. Corb Lund features horns on his latest record for crying out loud. Everyone wants to sounds like they’re recording in Muscle Shoals in 1976. I love that sound, but not from every single artist whose album hits my desk. Don’t know how I’ll feel about it either live or on his album, I’ll have to listen to it. But I can cite reviews from 6 months ago where I was complaining about how many folks are using horns in their music these days. So it’s far from groundbreaking.

The biggest takeaway from what Sturgill said is that he still considers his music country, at least somewhat. That’s what has me excited.

I really have no idea, and that’s why I caution folks to not read too much into this. I like the song, and for the TV show, it is perfect. On an album with lots of diversity, it could slide right in and be the perfect song for that perfect moment. You put out an entire album like this and this song might get exposed and be worthy of downgrading. Sturgill has sung the praises of the album context before, and like we know from “Metamodern,” context can be everything with his music. You release “The Promise” on its own and as the first single from that album, you may have no idea what the hell to think. You release it within the album, and it comes across as genius.

I think we should just enjoy the song for what it is, and be patient for what the future holds.

This is a badass theme song, especially after seeing the trailer for the series. HBO has been featuring awesome, original music on all of their shows lately. Hopefully this turns into something similar with what Lera Lynn did for True Detective.

So..it loses points for not being recorded in unadulterated Hi-Fi? I think he’s doing a fine job of showing us what the recording industry has thrown in the waste bin every time something new comes out, personally. Hi fidelity and new equipment doesn’t do any greater a service to music than “antiquated technology”. Let’s not forget that we’re talking about recording art, not just music. Once you erase every scratch and any trace of personality from the recording medium, you might as well go to the local coffee shop and listen to a songwriter.

Who said “unadulterated Hi-Fi?” I showed some concern for the low fi nature of the recording. That doesn’t mean that I want a recording that erases “every scratch and any trace of personality from the recording medium.” You’re painting me with an extreme. There is a balance here somewhere where you get the warmth of an analog medium, but clarity is not as compromised as it is on this track, or as it is on “Metamodern.”

I think recording to 2-inch tape is great. But in my opinion there’s this misnomer out there that 2-inch tape in itself makes great records, or that any recording done digitally stifles records. I think listeners are going to look back to the present day 25 years from now and wonder why we were purposefully making albums sound bad.

Last year an artist named Samantha Crain put out an album called “Under Branch & Thorn & Tree.” It was all recorded analog, any overdubs were done on tape, and then it was immediately transferred to vinyl masters. At no point did digital enter the picture until it was distributed. And the albums sounds excellent. You can make an organic recording without TRYING to make it sound scratchy, or by using more modern technology to make sure clarity isn’t compromised. That’s my only point.

And all that said, the POINT of this track is to sound like it’s from the 70’s, so I don’t have a problem with it. I was just making a more overarching point that may become relevant once we hear Sturgill’s new record.

Got a real Black Keys vibe out of this. Nothing wrong with that, of course, and I don’t ask that artists adhere to anything other than their own desire about what kind of music they want to make. All I ask is that they don’t make garbage.
This isn’t garbage. It’s not my favorite, hell I don’t even like it all that much, but it’s obviously what he wants to do right now and I can support that. Still definitely going to snap up the new album when it’s available.

If you told me this was a dug up Sunday Valley tune, I wouldn’t have been at all surprised. I like it. It doesn’t showcase what most people think Sturgill’s strengths are — (songwriting, singing) — but I like the tune and I love Sturgill’s lead guitar playing. I wonder if he’s going to move away from Laur Joamets and play more of his own leads? If so it would be a 180 since I’ve read him many time saying “I’m not a very good guitar player.” ( I disagree, of course, I think he’s brilliant at it )

FFS. Relax and have some fun for a second. Watch the show, look at the tracklist on the soundtrack. This songs does what it is supposed to do. Contacts is king when you’ve misplaced your glasses…… or is that context?? Fuck em and feed em fruit loops.

I think this song is a maturation of the song “It Ain’t All Flowers” from the last record. I hear lots of similarities. Sturgill is a complex artist that doesn’t shove a whole album in one direction. Nobody knows what the new album will sound like yet. I wouldn’t jump to many conclusion after hearing this one song.

I really am liking this.
Also, I honestly don’t mind what genre Sturgill’s next album is going to be (we already have two great Country albums from him already), talent is what makes any type of music great, and Sturgill sure is talented.

I know this is a bit off topic, except that it concerns Sturgill Simpson, and I’m almost embarrassed to ask here, but I’m curious-
Am I the only person in the world who likes High Top Mountain better than Metamodern? I feel like I should hang my head in shame round these parts, but I don’t LOVE Metamodern as much as everyone else seems to. I can’t even put my finger on why exactly.

haha, yeah, I’m certain I’m not the only living soul. I am prone to hyperbole. Whenever Sturgill comes up around here, I always wonder why, as a fan overall, I don’t seem to enjoy the Metamodern album on the same level as others. I’m only really a half step away from a more average mainstream Country music listener anyway though, compared to a lot of the commenters here.
I have actually no knowledge of any of the Sunday Valley music. I should hunt that down.

I’m with you Stephanie, I like High Top Mountain a lot ,that’s not to say I don’t like Metamodern.I think if it hadn’t been for “Turtles” and all its psychedelic drug references it wouldn’t have hit the critics radar.I do like the album but “Turtles” is my least favorite song on it.

As for Sugar Daddy, I dig it. Curious to see if the sound leads itself to the new album. I wouldn’t even be disappointed if it did, I think Sturgill’s got the songwriting chops to make the continued progression of his sound work.

I like High Top Mountain better as well. Both of these albums are like a breath of fresh air compared to everything else out there.

I really like this new song….it is such a throwback to the 1970’s rock sound, which is what I think it is supposed to be.I am a bigger fan of outlaw and alternative country, than I am of rock. There was a time when I listened to alot of 1970’s rock, but that is just not where I am at right now.

So while I like this song and will give it a few spins, my hope is that the new album will be more like his first two albums. Since this is a song for a television show, it is really hard to make a prediction about his next album based on this song.

I enjoy Metamodern more, but there are a lot of songs I love on High Top Mountain. For me, I just enjoy the sound of Metamodern a lot more and like the live versions of High Top Mountain songs better. I think it has to do with the way the two albums were recorded (session players versus the tight band Sturgill has assembled since High Top Mountain).

Reminds me of the theme song to “Suits”. Sounds great but I can’t make any sense out of it. Oh yeah, on another point I think that Vince Gill is as good as any guitar player in any genre…..just an opinion. Eric Clapton’s opinion also.

I have been really excited for his new music. I like the song and am not suprised at all. And don’t think for a second that Sturgill is worried about selling records or catering to anyone. In his Joe Rogan interview when referring to future plans he said, “I’ve got a really clear plan…I’m gonna make a total of 5 records (including the 2 already released) and then be done…I don’t know what else I would have to say beyond that…in each one successfully incorporate other elements of music that I love…and get more progressively opened up…id rather keep it more concise and focused…I might try something else at some point like just writing outright (like writing a book)…it’s not an issue of running dry…there’s certain things that I want to say…and use the opportunity to make it something more than just about me…try to promote a bigger message…and at some point you just end up repeating yourself.” I have been waiting for him to go back to electric or bluegrass because of this quote. Whatever he does, I’m listening.

I always caution folks about taking that quote too seriously. I’m not saying Sturgill is lying or that he didn’t mean it when he said it, but he also promised to quit music on a stage in Kentucky three weeks before “Metamodern” came out. He very well may quit after five albums, but I’ll believe it when I see it.

I’m not sure if Sturgill has a “Sound”. The Sunday Valley stuff was great, imo, but a lot different than his other two albums. High Top Mountain and Metamodern were really different as well. I dunno if this one song is anything other than what it is, a theme song for a tv show. I wouldn’t read to much into it. I will say, after watching numerous Sturgill interviews, that he isn’t your regular duck. He says he gets bored with stuff and goes on the the next thing. He might make a couple more albums, fullfill his contract, and never be heard from again. Who knows with this guy, more power to him. Just as long as he isn’t pairing up with FGL in the future I don’t care.

Well said bro. Totally agree.
I don’t mean to sound like a broken record but I don’t read this site for country music, I read it to find good music (which Trig fulfills). I don’t give a shit what Sam Hunt or Luke Bryan said about outlaws or anything else. I already know their music sucks. But I do know Strugill Simpson is a bad ass. Maybe one of the best musicians currently gigging.

I would be interested to read more about Dave Cobb’s methods. I don’t know much about recording. I’ve read a few articles about him saying they are recording live with a full band and no overdubbing. Are they recording analog?

It depends on the project, but most of Dave Cobb’s records are recorded to 2-inch tape, which is sort of the old-school way of doing things, compared to digital, which takes sound waves and converts them to 1’s and 0’s. Perhaps I’ll do a more in-depth article about this in the future since it comes up so much.

Here is the paragraph from the link in my previous post, as well as the one below, which states the entire catalog was produced by these guys. Question is, does “catalog” refer to all the songs on the soundtrack, or just the ones from the back catalog.

“The entire “VINYL: MUSIC FROM THE HBOÂ® ORIGINAL SERIES” catalog was produced by the GRAMMY winning trio behind “BOARDWALK EMPIRE VOLUME 1: MUSIC FROM THE HBO ORIGINAL SERIES” comprised of VINYL music supervisor Randall Poster (“THE GRAND BUDAPEST HOTEL: ORIGINAL MOTION PICTURE SOUNDTRACK,” “THE WOLF OF WALL STREET: MUSIC FROM THE MOTION PICTURE”), Atlantic Records Group President of Film & Television/Atlantic Records Executive Vice President Kevin Weaver (“FURIOUS 7: ORIGINAL MOTION PICTURE SOUNDTRACK,” “THE FAULT IN OUR STARS: MUSIC FROM THE MOTION PICTURE”), and VINYL music producer Stewart Lerman. Meghan Currier, who supervises the music in the series with Poster, co-produced. Executive producers are Martin Scorsese, Mick Jagger, Terence Winter, and Atlantic Records Chairman/CEO Craig Kallman.”

Yeah, I’m still not seeing anything in there that would allude to any of those guys being in the actual studio with Sturgill, and Dave Cobb not. These guys are all executive producers, or at least that’s what I would call them. I just can’t see the Atlantic Records Group President of Film hanging out in Nashville in the studio with Sturgill, before he’s even signed to Atlantic. I guess a lot of it depends on your definition of “producer.”

That got a lot of talk started pretty quick. Very fair review, and it is a cool song. It’s probably one of the better Bad Company tracks, wait I mean sturgill rock. Really just proves the man can write a song on demand and is very artistic. There is a little too much going on but I bet with a pair of headphones it would just jam. Sturgill is still the man, maybe he can save rock too. Lol

I think this is cool as hell. Yeah it ain’t country sounding but Sturgill sounds good singing and playing. At first I was like….. What the hell…. ( cause I been jamming Sturgill for years since Kyle started reporting on him years ago, pre metamodern ) but this is rockish which is what I grew up on and I like it after a couple a listens. U can’t deny his guitar chops. Just watch him on the Celtic Connections and u can see that. Keep it up Sturg. People will keep striving to be u haha.

Trigger, do you think the comments about not wanting to be or needing to be “country saviors” by Sturgill and Stapleton are said so as not to pigeonhole themselves in their music? Thanks….PS I love this song.

As someone who runs a site called “Saving Country Music,” I’ve gone out of my way to say that’s it’s unfair to these artists to call them “country saviors” or to lump the responsibility of saving country music on their shoulders. They’re artists, and they should focus on music, not flamethrowing Luke Bryan in the press just because some junior reporter is looking for a clickbait headline. Leave the dirty work to someone like me that everyone hates already. When Stapleton said he didn’t think country music needed to be saved, detractors came out of the woodwork to shove it in my face, but that’s exactly what I would expect Stapleton to say. I don;t want him to start a war with Sam Hunt just because we all would think it’s cool. His job is to play and make music, and that’s how he’ll save country music.

Charlie, I’m glad you mentioned Rival Sons! A-I love that band (though their most recent album isn’t my favorite), and B-I got a bit of a Rival Sons vibe from this tune. Yes, Rival Sons would have been an excellent choice to provide music for this series.

And I do think it was too much pretty much of everything… No you know what it sounded a little cliche to me in that it sounds like it is trying WAY to hard to be not just a theme song but an *HBO* theme song. This theme song wouldn’t be airing on network TV. It reminds me of the theme song for The Wire, True Detective and the like… they are all kind of moody and brooding a loud in their way.

Not bad. Just doesn’t excite me in the same way other HBO theme songs have. But maybe in context of the show it will grow on me.

And damn Trigger with all the writing you have to do HOW do you keep up with these comments.

If it wasn’t for Trigger and SCM I would have probably heard about Sturgill Simpson by now. Instead I heard about him January 2011. I am thankful for you and this site. I went back and read the old post its like watching a time lapse video. Man I haven’t been that mesmerized by a band since the first time I heard Whole Lotta Love. That cd was what my lil Lady got me for my birthday that year. Sunday Valley “To The Wind And On To Heaven”, It is one of my prized possessions. That review you could feel the excitement. Then in the comments the excitement was contagious. I can honestly say that was the first time I heard the word Balderdash used in a sentence. Someone said it was rock and not country.Too rock? Balderdash.

I think even with all the praise, awards, and accolades he has received, he is still underrated. Oh I drank your Kool Aid Trigger, and then mainlined it. I have watched every video I could find,Listened to every song He has never disappointed me. Panel Discussion: The Rise of Sturgill Simpson is a You Tube video with his whole team discussing him and his vision. Who gets a panel discussion?I

Who else would go on ACL and plays Osborne Brothers “Listening To The Rain” and some how goes into T.Rex “The Motivator” or sing “Id Have To Be Crazy”. Whatever he does he puts his all in it. I should be amazed but I’ve grown to expect great things from this man.

Sorry for rambling on, I think the song is what they were looking for, and I think it great as well.

If you get time go back and read how it has all been chronicled right here. Its been great watching it.

I been kind of a dick to Trigger in a couple statements,I apologize and hope you will accept my apology.Thanks for all the work you put in to get the music heard. Sturgill not the man…. Balderdash.

UK Telegraph says this song is from new album
Ive seen many of the top guitar players in the world
Lil Joe blew me away. Its kinda weird but he gave me left me in awe watching him that l get when seein Jeff Beck live. Taste technique and feel at its best. I love high top but i like the songs better live when played with the meta modern band. I havent seen Sturgill play electric live.. Be crazy if he is that good Trig. I have to say I saw Glen Campbell live and he was one of the best ive seen in country. He played the william tell ovature with an orchestra and started playing behind his head and everything. I know that is flash but it was awesome.no one remembers how good he was on guitar

I love how this guy is different if someone else did a similar song it would get bashed and called a sell out granted this might not be on an album but if his music is like this from now on he is a sell out like the rest I know he is not the “savior” but he at least in this song not country at all everybody will brush it off if it’s one of your favorite artists

Trigger, Sturgill may be good at a lot of things but as a guitar player that video link that was posted was just sad. From what I have seen he couldn’t hack a lead player gig in a 3rd rate weekend cover band. Slamming Paisley’s guitar playing is just ignorance on your part, (You”re not a “player” are you?) I’ll never forget how refreshing it was to hear an actual country guitar player come up with a style that was original and never heard before! How often do you hear actual hot guitar on the radio, NEVER unless it’s Brad! Yeah his songs suck ,blah, blah,blah, but the way he plays guitar is something new and innovative! I get so tired of artsy fartsy assholes making excuses for bad playing by using the “listen to the feeling he plays with excuse” crap is crap and that video is crap. Paisley has made country shred cool and because of him country guitar is making a comeback .